Schopenhauer on Beauty

Arthur Schopenhauer:

{p.51}  The beauty of a work of art consists in the fact that it holds up a clear mirror to certain *ideas* inherent in the world in general; the beauty of a work of poetic art in particular is that it renders the ideas inherent in mankind, and thereby leads it to a knowledge of these ideas. The means which poetry uses for this end are the exhibition of significant characters and the invention of circumstances which will bring about significant situations, giving occasion to the characters to unfold their peculiarities and show what is in them; so that by some such representation a clearer and fuller knowledge of the many-sided idea of humanity may be attained. Beauty, however, in its general aspect, is the inseparable characteristic of the idea when it has become known. In other words, everything is beautiful in which an idea is revealed; for to be beautiful means no more than clearly to express an idea.

Thus we perceive that beauty is always an affair of *knowledge*, and that it appeals to *the knowing {p.52} subject*, and not to *the will*; nay, it is a fact that the apprehension of beauty on the part of the subject involves a complete suppression of the will.

On the other hand, we call drama or descriptive poetry interesting when it represents events and actions of a kind which necessarily arouse concern or sympathy, like that which we feel in real events involving our own person.
[…]
It is obvious that what is affected by poetry of this character is our *will*, and not merely our intellectual powers pure and simple. The *interest* means, {p.53} therefore, that which arouses the concern of the individual will, *quod nostr’ae interest*; and here it is that beauty is clearly distinguished from interest. The one is an affair of the intellect, and that, too, of the purest and simplest kind. The other works upon the will. Beauty, then, consists in an apprehension of ideas; and knowledge of this character is beyond the range of the principle that nothing happens without a cause. [i.e. Aristotle’s principle of sufficient reason] Interest, on the other hand, has its origin nowhere but in the course of events; that is to say, in the complexities which are possible only through the action of this principle in its different forms.
[…]
[I]t is to be observed that the interest of a work of art in confined to works of poetic art. It does not exist in the case of fine art, or of music or architecture. Nay, with these forms of art it is not even conceivable[.] {p.54} Interest of this kind is clearly quite foreign to the essence and purpose of art; it disturbs our judgment in so far as it makes the purely artistic attitude impossible. It may be, indeed, that to a smaller extent this is true of all interest.
[…]
{p.56} In the second place, if interest were a means in the production of beauty, every interesting work would also be beautiful. That, however, is by no means the case. A drama or a novel may often attract us by its interest, and yet, be so utterly deficient in any kind of beauty that we are afterwards ashamed of having wasted our time on it. This applies to many a drama which gives no true picture of the real life of man; which contains characters very superficially drawn, or so distorted as to be actual monstrosities, such as are not to be found in nature; but the course of events and the play of the action are so intricate, and we feel so much for the hero in the situation in which he is placed, that we are not content until we see the knot untangled and the hero rescued. The action is so cleverly governed and guided in its course that we remain in a state of constant curiosity as to what is going to happen, and we are utterly unable to form a guess; so that between eagerness and surprise our interest is kept active; and as we are pleasantly entertained, we do not notice the lapse of time. Most of Kotzebue’s plays are of this character. For the {p.57} mob this is the right thing; it looks for amusement, something to pass the time, not for intellectual perception. Beauty is an affair of the such perception; hence sensibility to beauty varies as much as the intellectual faculties themselves. For the inner truth of a representation, and its correspondence with that real nature of humanity, the mob has no sense at all. What is flat and superficial it can grasp, but the depths of human nature are opened to it in vain.
[…]
How very little aesthetic value there generally is in productions of this sort is well known; and yet it cannot be denied that many of them are interesting; or else how could they be so popular?
{p.58}
We see, then, in reply to our second question, that interest does not necessarily involve beauty; and, conversely, it is true that beauty does not necessarily involve interest. Significant characters may be represented, that open up the depths of human nature, and it may all be expressed in actions and sufferings of an exceptional kind, so that the real nature of humanity and the world may stand forth in the picture in the clearest and most forcible lines; and yet no high degree of interest may be excited in the course of events by the continued progress of the action, or by the complexity and unexpected solution of the plot. The immortal masterpieces of Shakespeare contain little that excites interest; the action does not go forward in one straight line, but falters, as in *Hamlet*, all through the play; or else it spreads out in breadth, as in *The Merchant of Venice*, whereas length is the proper dimension of interest; or the scenes hang loosely together, as in *Henry IV*. Thus it is that Shakespeare’s dramas produce no appreciable effect on the mob.

The Art of Controversy and Other Posthumous Papers
by Arthur Schopenhauer. Selected and Translated by T. Bailey Saunders, M.A.
London: George Allen & Unwin Ltd. Ruskin House 40 Museum Street, W.C.
First Published 1896, Reprinted 1921 The Aberdeen University Press Ltd.


One Response to “Schopenhauer on Beauty”

  1. So he would probably disagree with Lautréamont that beauty is “the chance meeting on a dissecting-table of a sewing-machine and an umbrella”

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